Holy Fire

Holy Fire

4.0 3
by Bruce Sterling

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The 21st century is coming to a close, and the medical industrial complex dominates the world economy. It is a world of synthetic memory drugs, benevolent government surveillance, underground anarchists, and talking canine companions. Power is in the hands of conservative senior citizens who have watched their health and capital investments with equal care, gaining…  See more details below


The 21st century is coming to a close, and the medical industrial complex dominates the world economy. It is a world of synthetic memory drugs, benevolent government surveillance, underground anarchists, and talking canine companions. Power is in the hands of conservative senior citizens who have watched their health and capital investments with equal care, gaining access to the latest advancements in life-extension technology. Meanwhile, the young live on the fringes of society, ekeing out a meagre survival on free, government-issued rations and a black market in stolen technological gadgetry from an earlier, less sophisticated age.

Mia Ziemann is a 94-year-old medical economist who enjoys all the benefits of her position. But a deathbed visit with a long-ago ex-lover and a chance meeting with a young bohemian dress-designer brings Mia to an awful revelation. She has lived her life with such caution that it has been totally bereft of
pleasure and adventure. She has one chance to do it all over. But first she must submit herself to a radical--and painful--experimental procedure which
promises to make her young again. The procedure is not without risk and her second chance at life will not come without a price. But first she will have to
escape her team of medical keepers.

Hitching a ride on a plane to Europe, Mia sets out on a wild intercontinental quest in search of spiritual gratification, erotic revelation, and the thing she missed most of all: the holy fire of the creative experience. She joins a group of outlaw anarchists whose leader may be the man of her dreams...or her undoing.  Worst of all, Mia will have to undergo one last radical procedure that could cost her a second life.

In Holy Fire, Bruce Sterling once again creates a unique and provocative future that deals with such timeless topics of the human condition as love,
memory, science, politics, and the meaning of death. Poginant, lyrical, humorous, and often shocking, Holy Fire offers a hard unsparing look into a world that could become our own.

From the Paperback edition.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Humanity's ancient dream of immortality is on the verge of becoming reality in the challenging new novel from erstwhile William Gibson (see below) collaborator Sterling (Heavy Weather, 1994, etc.). In Sterling's late 21st century, advances in cybernetics, nano- and virtual technology and medicine have transformed Earth into a near paradise. Vice and illness still exist, but they're largely voluntary or self-created, the result of not controlling one's appetites and not using the medical facilities provided free to those who live socially acceptable lifestyles. Mia Ziemann is a 94-year-old medical economist in a world ruled by a "post-human" gerontocracy. Life-extension technology is the world's major growth industry and Mia, like many of the elderly, has invested everything into qualifying for new and experimental rejuvenation techniques. After undergoing one of the most radical such procedures, Mia can now pass for 20 but is borderline psychotic. She trades her careful, upscale existence for life on the streets with the restless young, wandering through Europe in search of stimulus and meaning. There, she finds herself surrounded by artists, anarchists and bohemians who, frustrated by their powerlessness, want to involve her in a radical scheme to change the world. Sterling is never an easy writer, especially for casual fans of SF. Here, as usual, he offers intellectual rather than action fare, as discussions of the morality of immortality alternate with debates over aesthetics and the future of high fashion. The future Sterling traces is plausible and provocative, particularly his consideration of several contrasting cultures, and of the disenfranchised who are unable to become "post-human." Those interested in serious speculative conversation set within a very strange near-future will find this much to their taste. Major ad/promo. (Oct.)
VOYA - Rayna Patton
Only one hundred years in the future, humanity has outgrown its old problems and has come up with new ones. Pandemics have killed billions; the population explosion is no more. Decade by decade medical advances are extending healthy life spans. Old people own the world's resources and also all the important jobs. What's a young person to do? The choices seem to be marginalize, suicide, or delve deep into cyberspace and the netscape. Mia Ziemann is one of the old and rich. The death of a friend causes her to contemplate her life, and she is appalled by the sterility she sees. Risking all, she undergoes an experimental procedure that restores her to youthful form. She escapes her medical team and flees to Europe, where she meets the young people of several great European cities. She does some modeling, lives off various friends and lovers, and yearns to find herself in the holy fire of creativity. Eventually she realizes that a group of young people have found the way to immortality, partly because of the inevitable progress of medicine, but also by a strange linking of mind and body with cyber intelligence. She opts to drop out from the worlds of the old and the young "post humans" and to wander the back roads of America with her camera until she finds in herself the power to create truly powerful images. Sometimes a book taps the zeitgeist or current perception. Welfare reform having taken care of the stereotypical "Cadillac-driving welfare mom," the latest group to elicit resentment seems to be the Cadillac-driving, social security-busting senior citizen. Sterling has taken the notion of elder wealth and privilege to a logical conclusion. Unfortunately his characters are not particularly likable (with the possible exception of Plato, the talking dog), and in some cases his prose is well-nigh incomprehensible. "We must create work which brings...new reality to the surface, a sequence of seemingly gratuitous gestures which will form in their aggregate the consciousness of posthumanity." Mia, for all her youthful form and adventures, still thinks like an old lady. It is hard to imagine many teenagers will find her very engaging. All in all, a book which will lend itself to lively discussion in a book discussion group, but which may not have widespread YA appeal. VOYA Codes: 4Q 2P S (Better than most, marred only by occasional lapses, For the YA with a special interest in the subject, Senior High-defined as grades 10 to 12).
Library Journal
Mia Ziemann so dreaded pain and death that at 93 she'd undergone all the miracles that science could offer to extend her life. In 2095 the world is so medically obsessed and globally hooked into the Net that Mia exists, more than lives, in a sterile environment. After the death of an old lover, she undergoes a radical medical procedure that rejuvenates her and propels her on a quest for the holy fire of love she lacks. The high-tech cyberworld of this novel reveals what we have already given up to prolong life. This latest title from the author of Heavy Weather (LJ 8/94) is highly recommended for sf collections. [Previewed in Prepub Alert, LJ 6/1/96.]

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Mia opened the hinged lid of a glove font and dipped both her hands, up to the wrists, into a thick bath of hot adhesive plastic. She pulled her hands out, and waved them to cool and congeal.

The gloves crackled on her fingers as they cooled and set. Mia worked her finger joints, then clenched her fists, methodically. The plastic surface of the gloves split like drying mud into hundreds of tiny platelets. She then dipped her gloves into a second tank, then pulled free. Thin, conductive veins of wetly glittering organic circuitry dried swiftly among the cracks.

When her gloves were nicely done, Mia pulled a wrist-fan from a slot below the basin. She cracked the fan against her forearm to activate it, then opened it around her left wrist and buttoned it shut. The rainbow--tinted fabric stiffened nicely. When she had opened and buttoned her second wrist-fan, she had two large visual membranes the size of dinner plates radiating from the ends of her arms.

The plastic gloves came alive as their circuitry met and meshed with the undersides of the wrist-fans. Mia worked her fingers again. The wrist-fans swiftly mapped out the shape of the gloves, making themselves thoroughly familiar with the size, shape, and movements of her hands.

The fans went opaque. Her hands vanished from sight. Then the image of her hands reappeared, cleverly mapped and simulated onto the outer surfaces of the wrist-fans. Reality vanished at the rim of the fans, and Mia saw virtual images of both her hands extended into twin circles of blue void.

Tucking the touchslate under one arm, Mia left the bathroom and walked to her chosen curtain unit. She stepped inside and shut and sealed the curtain behind her. The fabric stiffened with a sudden top-to-bottom shudder, and the machine woke itself around her. The stiff curtain fabric turned a uniform shade of cerulean. Much more of reality vanished, and Mia stood suspended in a swimming sky blue virtuality. Immersive virtuality--except, of course, for the solid floor beneath her feet, and the ceiling overhead, an insect-elbowed mess of remote locators, tracking devices, and recording equipment.

The fabric curtain was woven from glass fiber. Thousands of hair-thin multicolored fiber-optic scan-lines. Following the cues from her false eyelashes, the curtain wall lit up and displayed its imagery wherever Mia's eyesight happened to rest. Wherever her gaze moved and fell, the curtain was always ahead of her, instantly illuminated, rendering its imagery in a fraction of a second, so that the woven illusion looked seamless, and surrounded her.

Mia fumbled for a jack and plugged in the touchslate. The curtain unit recognized the smaller machine and immediately wrapped her in a three-hundred-and-sixty-degree touchplate display, a virtual abyss of smoky gray. Mia dabbled at the touchscreen with her gloved fingertips until a few useful displays tumbled up from its glassy depths: a cycle tachometer, a clock, a network chooser.

She picked one of San Francisco's bigger public net gates, held her breath, and traced in Martin Warshaw's passtouch. The wall faithfully sketched out the scrawling of her gloved fingertip, monster glyphs of vivid charcoal against the gray fabric.

The tracing faded. The curtain unit went sky blue again. Nothing much happened after that. Still, the little tachometer showed processing churning away, somewhere, somehow, out in the depths of the net. So Mia waited patiently.

After eight minutes, the tachometer vanished. The walls went stellar black, then leapt into a full-scale virtuality rendition.

Mia found herself in an architect's office. There was a big desk in simulated wood grain, and painfillly gleaming brass lamps, and algorithmic swirls of simulated marble. The chairs were puffy, overstuffed, and swaddlingly comfortable. Old people's chairs. They were the kind of chairs that top-flight furniture designers had begun making back in the 2070s, when furniture designers suddenly realized that very old people possessed all the money in the world, and that from now on very old people were going to have all the money until the end of time.

The virtual office, with some fine display of irony, had been designed to resemble the office of a civil architect. Architects who designed actual buildings, as opposed to those who built virtual structures, tended to be rather snobbish and pushy about their intimate relation to tangible physicality. The walls around her were all corkboards, chalkboards, crayons, drafting paper, and string. All very analog and tactile. There wasn't a data screen anywhere in the place. Except, of course, that this entire virtual environment was itself a data screen.

There was a serious mismatch between Martin Warshaw's sophisticated memory palace and this randomly chosen and somewhat pokey little curtain unit. Against the rounded fabric walls, the corners of the virtual room looked quite nasty, with a stomach-churning visual warp. The simulation couldn't seem to decide where to put the floor. Rims of flooring slopped up on the lower edges of the screen, like a swamped rowboat slowly going under.

A simulated window in one wall showed an arty glimpse of a fake exterior garden, but the organic shapes within the garden were disastrous. The trees were jerky half-rendered blurs, a nightmare vision of x-rayed vegetation under alien sunlight as thick as cheese. The inside of the office boasted a virtual potted plant. Its big serrated leaves looked as stiff and lifeless as waffle irons.

Mia turned in place, gazing about the virtual office cautiously. A massive framed blueprint hung on the wall to her left. It showed a vast multistory edifice--the ground-floor plans of the memory palace itself, presumably. The blueprints were lavishly annotated, in horribly blurred and tiny print. The palace looked huge, elaborate, and quite intimidating. Mia felt as if she'd unwrapped a Christmas gift and found an entire steam locomotive crammed inside it. A multiton coal-fired virtual jack-in-the-box.

She turned toward the center of the room. The top of the wood-grain desk boasted a single framed photograph. Mia made stepping motions in place, and managed to reach the virtual desk without barging through it. She reached out one hand, fishing for the photo. The glove interface was hopelessly bad, full of stutter and overlap.

This was a very unhappy interface. And small wonder. No doubt this entire virtual environment was being encrypted, decrypted, reencrypted, anonymously routed through satellites and cables, emulated on alien machinery through ill-fitting, out-of-date protocols, then displayed through long-dead graphics standards.

Dismembered, piped, compressed, packeted, unpacketed, decompressed, unpiped and remembered. Worse yet, the place was old.

Virtual buildings didn't age like physical ones, but they aged in subtle pathways of arcane decline, in much the way that their owners did. A little bijou table in the corner had a pronounced case of bit-rot: from a certain angle it lost all surface tint.

The place wasn't dead, though. A virtual gecko appeared and sneaked its way along the wall, a sure sign that little health-assuring subroutines were still working their way through the damper, darker spots in the palace's code.

Mia got a tentative grip on the photograph. She lifted it from the desktop, and the image burst free from the frame like a hemorrhage, and leapt up onto the fabric wall of the curtain unit, flinging itself all around her in a three-hundred-and-sixty-degree blast of bright red pixels the size of bloody thumbprints. Mia winced, put the photo back down, and peered at it sidelong through the membrane of her wrist-fan. Objects within hand's reach seemed a lot better realized graphically than the jittery mess up on the curtain walls.

The frame held another digital photograph of herself. A different picture this time: the very young Mia Ziemann was sitting on a threadbare red fabric couch in her red terry-cloth bathrobe, reading a paper magazine, her slim bare legs perched on a coffee table. Her hair was wet. The floor was littered with collegiate junk: fast-food packets, disks of recorded music, two unlaced walking shoes. The young Mia was unaware of the photographer. She looked relaxed and comfortable, yet deeply intent on her magazine.

Another little keepsake of Martin's. His posthumous message to the palace's chosen heiress.

Mia clawed open a drawer of the virtual desk. Empty. She knocked the photo into the empty drawer and shut it.

She opened another desk drawer. Scissors, paper, pens, tape, pins. She tried repeatedly, but failed to get a decent grip on the virtual scissors. She opened another drawer. A box of colored chalk.

Mia plucked a stick of pale green chalk from the box, and turned toward the chalkboard on the far wall. She marched in place toward the chalkboard--it reeled disturbingly as she grew nearer--and she reached out, her gloved fingers pinched and the virtual chalk outstretched.

Clearly this action called for much better gloves than the cheap peel-aways she was wearing. The chalk wobbled in and out of the surface of the chalkboard like Dodgson's Alice having fits in a mirror. After prolonged struggle Mia managed to shakily scrawl a random message, the first thing that had come into her head

From the Paperback edition.

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Holy Fire 4 out of 5 based on 0 ratings. 3 reviews.
WishIWasReading More than 1 year ago
I loved this book! It was a fast read and it left me wanting more. Looking through the eyes of an aging woman who has had every procedure technology had to offer, she is given a whole new lease on life with an amazing procedure that puts her into a body of a teenager. With this new body she false victim to the desires that come with a budding teen.
kamas716 More than 1 year ago
A woman gets a new lease on life through the miracle of modern science, and ends up looking/feeling much younger than she really is. She ends up as a fugitive because she doesn't want to fulfill the contract that gave her this new youth. I loved the premise and Sterling was able to pull it off pretty well.
Guest More than 1 year ago
While the concept of this tales is intriguing there is little in this story to get heated up about. Mia Ziemann, an elderly 94 year old aristocrat, flees those who have given her one final chance at being young once again all because she would be force to be a bird in a guilded cage; but here's where the tale falls apart. While we are told she is being pursued by the medical police for having fled once the painful procedure that brought back her youth we, the readers, are left with an acute lack of tension as those who are chasing her remain unseen and unheard from for much of the tale. We are only given the perspective of the tale from one point of view, that being Mia. This quickly becomes slow and somewhat tiring as she reduntly and often speaks of her sense of wandering and drinking of various tinctures. The thrill of the chase was never established. Readers are in the dark as to any urgency on the part of those who are chasing Mia ... no glimpses into their efforts to bring her back to justice are ever explained or shown. While Holy Fire does pose the interesting questions as to what prices a person would pay for eternal youth and what would be done with this youth once it is obtained is quite interesting it does not truly go far enough to make an exciting tale of out of this story. Bruce Sterling exhibits excellent ideas which shine most noticeably in his short storied but his full-legnth novels are often left wanting for lack of proper build up of expectation and excitement.